Raya and the Last Dragon

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Released for rental on Disney+, the film tells the story of Raya, a warrior-princess on the hunt for pieces of the mythic “Dragon Gem,” as she journeys through land once filled with unity and dragons until a plague of evil spirits led to a division between the people and the disappearance of the dragons.

“What attracted me to the project,” said Awkwafina, who plays Sisu, Raya’s companion and last remaining dragon, “was how it would not only feature the cultures of Southeast Asia but also its first Southeast Asian Disney princess.”

The look and feel of the five tribes of the land of Kumandra draw influence from real-world elements found in countries such as Thailand, Indonesia, and Vietnam. This continues what may be a trend in Disney princess movies of showcasing the people and mythologies of cultures less seen in Western films, picking up where the Polynesian-inspired “Moana” left off.

“Recognizing that this movie was going to be inspired by the part of the world that my family’s from made me really excited,” said Kelly Marie Tran, the voice of Raya. “Raya is someone who is a warrior and who gets to be really angry, which we haven’t seen before. I think Disney’s really trying to broaden the idea of what people think when they think of the word hero and when they think of the word princess.”

Raya and the Last Dragon’ Soars to New Heights

“Do not be afraid. Take chances and trust your instincts,” John Ripa, Disney animator and co-director of the Walt Disney Animated Studios’ latest film “Raya and the Last Dragon,” told college students ahead of the movie’s March 5 premiere. On Feb. 24, Ripa Paul Briggs, a fellow co-director and Disney animator,  hosted the Zoom-exclusive event “Disney’s ‘Raya and the Last Dragon’ College Filmmaker Presentation” for college students across the globe.

To promote the newest Disney princess film in an educational and motivational light, Briggs and Ripa shared a series of behind-the-scenes videos, photographs from research journeys and discoveries made during the transition from page to screen all while inviting attendees into the world of Kumandra, the fantastical setting of “Raya and the Last Dragon.”

Box Office: ‘Raya and the Last Dragon’ Stays No. 1 With $5.2M as L.A. Theaters Roar Back to Life

Disney’s fantasy-adventure Raya and the Last Dragon stayed atop the chart in its third outing, falling a mere 5 percent to $5.2 million as L.A. theaters roared back to life over the weekend in a needed boost for Hollywood and ravaged theater owners.

Raya‘s domestic total is now at $23.4 million for a global total of $71.2 million.

The Disney title was hardly the only movie seeing a narrow decline, or even a boost, although the big test will come when new major studio products open over the next two weekends in North America, including Nobody — which opened to a promising $2.6 million from four overseas markets this weekend — and Godzilla vs. Kong.

The newest Disney princess Raya is set apart from many of the other characters in the line. It is a consistent criticism that the princesses are often not given much in the way of character, more often than not having story events happen to them as opposed to embodying young women with agency, goals, and flaws. But Tran was quick to not dismiss the earlier films entirely.

What Country Is 'Raya and the Last Dragon' Set? Raya's Ethnicity, Race | StyleCaster

“I want to be really specific about the way that I speak about Disney princesses. I think a lot of times there’s sort of a negative connotation about those earlier movies and I don’t necessarily believe that” she said.

“There really is nothing wrong with wanting to be in love or liking pretty dresses. The danger becomes when we only see the same types of art of representation over and over, do you think that’s the only thing you can do.”

The film’s innovations in cultural depiction and in its heroine are not its only noteworthy aspects. It also provides a fascinating look at the production pipeline during the COVID-19 pandemic as the actors were forced to work from home.

Raya And The Last Dragon' Review: This Kelly Marie Tran, Awkwafina Led Action Extravaganza Is A Must Watch For All - Entertainment

“I think we had 450 casts and crew working from all around the world to make this film come together,” said Gemma Chan, who plays the film’s antagonist Namaari.

“When I did my first session on the film, we were in the first lockdown and I converted a small storeroom into a makeshift studio, putting padding on the walls. I’ve never done something like this from home before, having to be your own technician, failing spectacularly at it at times.”

While the cast would have loved the opportunity to play off each other by recording together, the finished film does not suffer. But according to the actors, the cutting-room floor is covered in audio and technical glitches caused by working remotely.

“The Internet cutting out was bad. Sounds from outside. There’s a lot of construction around right now,” recounted Tran.

“You can’t hold traffic. Yelling,” Awkwafina added.

“I will say there were some positive experiences about it and those included being able to see inside people’s homes and getting more of their personality. I know that sounds so creepy,” Tran said, laughing.

Raya And The Last Dragon' posts $11.5m at international box office; 'Shin Evangelion' boosts Japan | News | Screen

“Raya and the Last Dragon” has not been without its negative responses. Some critics from the Southeast Asian community have expressed dissatisfaction with the portrayal of elements of the real world culture being done haphazardly, contributing to a view in which Asian cultures are seen as interchangeable.

Mortal Kombat Full Movie

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Mortal Kombat Leaked Online: American martial arts fantasy film Mortal Kombat has been released abroad on April 8, 2021. In the USA and India, the Lewis Tan and Jessica McNamee starrer will release on April 23, 2021. Ahead of the release, Mortal Kombat has been leaked online. The film has become the latest target of piracy sites such as Tamilrockers, Telegram, movierulz, among others. Mortal Kombat has leaked online in full HD quality. The leak is an issue of concern for the makers as it may affect the box office collection. Also Read – Karnan Leaked Online, Full HD Available For Free Download Online on Tamilrockers and Other Torrent Sites

Mortal Kombat (2021) Full HD Hindi Movie Leaked By Filmyzilla to Download

The Simon McQuoid directorial is based on the video game franchise of the same name created by Ed Boon and John Tobias, serving as a reboot to the Mortal Kombat film series. The film stars Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim, and Hiroyuki Sanada in lead roles. Also Read – Vakeel Saab Leaked Online, Full HD Available For Free Download Online on Tamilrockers and Other Torrent Sites

Mortal Kombat Movie Clip Shows Scorpion vs. Sub-Zero Fight

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A new clip from Warner Bros.’s upcoming Mortal Kombat film shows Scorpion and Sub-Zero going toe-to-toe. The latest movie adaptation of the popular video game franchise of the same name f0llows a young MMA fighter, Cole Young, who becomes embroiled in the interdimensional conflict after discovering his true heritage. Young becomes acquainted with video game legends including Scorpion, Sub-Zero, Raiden, and Liu Kang as he fights to defend Earthrealm from Outworld.

Anyone familiar with the video game series will know that Mortal Kombat is most famous for its gratuitous violence. The fighters engage in one-on-one martial arts bouts spilling plenty of blood. Gory finishing moves called fatalities see characters stab, tear, and sometimes cannibalize their opponents. It simply wouldn’t be Mortal Kombat without the carnage. Lewis Tan, who plays Cole in the film, says gore will be present in this adaptation but that it will be tasteful.

Mortal Kombat: Where You Know The Movie’s Liu Kang Actor From

Mortal Kombat Spin-Offs Would Be Better For Johnny Cage Than A Sequel

A clip shared to YouTube by Bloody Disgusting shows Scorpion and Sub-Zero face off in our first taste of combat. The 27-second video sees the pair duke it out in a frozen arena seen in previous promotional material. Sub-Zero creates a blade out of ice and holds his own until Scorpion appears to get the better of him with his iconic kunai on a chain. Before Scorpion can finish Sub-Zero off, he slips away by creating an ice clone of himself. Check out the clip for yourself below:

Mortal Kombat Streaming: How To Watch The New Movie

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Since the launch of the controversial fighting game in the early ‘90s there have been multiple Mortal Kombat movie and TV adaptations, with the vast majority of those failing to capture the brutality (and fatalities) that drew gamers to arcades and terrified parents nearly 30 years ago. Well, that will all change with Simon McQuoid’s highly anticipated version of the classic Midway arcade franchise. But with not much time before the film’s April 23 release, you’re probably wondering where you can watch Mortal Kombat streaming.

Where Is Mortal Kombat Streaming

In case you have been trapped in Outworld for a few centuries, anyone with an HBO Max account can watch Mortal Kombat streaming the same time it opens in theaters, which happens to be Friday, April 23. One of the many movies to land on the streaming service and theaters simultaneously as part of the Warner Bros. 2021 release modelMortal Kombat will be available to watch online for 31 days, giving everyone the opportunity to watch all the bloody moments and the fatalities we want to see when the movie pushes its R rating to the limit.

Where Is Mortal Kombat Streaming

In case you have been trapped in Outworld for a few centuries, anyone with an HBO Max account can watch Mortal Kombat streaming the same time it opens in theaters, which happens to be Friday, April 23. One of the many movies to land on the streaming service and theaters simultaneously as part of the Warner Bros. 2021 release model, Mortal Kombat will be available to watch online for 31 days, giving everyone the opportunity to watch all the bloody moments and the fatalities we want to see when the movie pushes its R rating to the limit.

Monday Full Movie

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Originally seen as part of this year’s virtual Toronto Film Festival, director/co-writer Argyris Papadimitropoulos’ Monday was actually made quite a while ago in a time where human beings could sweat, dance, touch and feel complete abandon with each other, whether in Europe or America or anywhere else. Looking now at this steamy romance, focusing on a relationship between two passionate young adults who spend their first night after meeting at an Athens club naked on the beach entwined in each other until the cops break them up, it all comes off like a welcome vacation from the realities we now live in, as well as a tempting travelogue for Greece where it was shot.

The Girl who…. In a place where only one child is… | by Hannah Binder | Medium

There isn’t really a whole lot of plot because this is more about sensual pleasures, opposites attracting, ex-pats falling in love on foreign soil and carrying on like they are the only two people circling in their universe, even if both really know it can’t last.

In the script from Papadimitropoulos and Rob Hayes, Stan plays Mickey, a DJ with further musical ambitions who has been living in Greece for seven years when he meets Chloe (Denise Gough), a lawyer about to head back to her life as it was in America. Sparks fly, however, and their mutual attraction is so imminent it leads to that aforementioned tryst on the sand, the first of many raw, naked scenes between them. The film proceeds to chronicle their budding relationship, their ups and downs, through the course of several weekends.

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The title Monday serves as a call to reality for this pair, especially free-wheelin’ Mickey, who hangs with his friends like he is still in college rather than the father of a child from a past relationship he doesn’t get to see much. This is a guy in his 30s running from responsibility and hoping the party never really ends, spinning tunes and paying the bills with a dull day job as an advertising jingle writer. Chloe knows better but seems, at least temporarily, unleashed by this new chapter, an unexpected bounce-back from a doomed and abusive relationship, even when this new one eventually leads to a weekend in jail followed by the realization that Mickey is no white knight out to rescue her, but rather a guy consumed with his own life, such as it is.

Monday movie review & film summary (2021) | Roger Ebert

This is a combustible pairing to be sure, and if the film works at all (some of it is quite watchable) it is because its two leads know exactly what they are doing, and seem to have no inhibitions in playing characters with no inhibitions at this exact moment (shedding their clothes for a completely nude late-night motorcycle ride through the middle of the city proves that without a doubt). Stan is currently enjoying high visibility in the Disney+ series The Falcon and the Winter Soldier, which continues his membership in the Marvel Cinematic Universe, but as he has shown in movies from me, Tonya to the underrated Destroyer to The Devil All the Time (as well as another sexually charged role in Endings, Beginnings) he can be arrested in a number of different roles. The Irish Gough (Juliet, Naked) is a decent match for those talents, and the pair exhibit real screen chemistry — a fortunate circumstance because this movie depends completely on that or it sinks, especially since they already have had sex before knowing each other’s names.

Monday Review: A Romantic Drama That Lacks Overall Direction

It’s quite difficult to balance a budding onscreen romance in a way that is grounded, tender, and thoughtful. Often, filmmakers can’t seem to create realistic tension without derailing an entire relationship with little closure or satisfaction. Such is the case with Monday from director Argyris Papadimitropoulos. Co-written by Papadimitropoulos and Rob Hayes, Monday begins with a lot of potential before going off in a various of directions, none of them necessarily good. Monday fumbles its way through after a strong start and isn’t interested in exploring or developing its characters as individuals or as a couple.

What Happened to Monday | Netflix Official Site

Sebastian Stan Explains Why He Did Nude Scene In Monday

Sebastian Stan, who stars in the romantic drama Monday, reflects on appearing nude in the film. To most fans, Stan is perhaps best known for portraying Bucky Barnes in the Marvel Cinematic Universe. But, for his new project, audiences are seeing a very different side of the actor.

Directed by Argyris Papadimitropoulos, who previously helmed Suntan, his latest feature chronicles an intense romance between Mickey (Stan) and Chloe (Denise Gough). Taking place over the course of a long weekend in Greece, the relationship begins with a drunken fling at a party. But, as the weeks and months pass, the characters go from strangers to lovers. The film has been cited for capturing the intensity of what Mickey and Chole go through, as early bliss gives way to disagreement and resentment. Stan has gone the extra mile to promote Monday by posting a viral Instagram photo. Still, in new remarks, the actor admits that the decision to go ahead with a nude scene was made after careful consideration.

In The Earth

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The First COVID Horror Movie – ‘In the Earth’: Wheatley Brings An Apocalyptic Vision of Coronavirus to Life in a Surprising Way

This week, Neon released its COVID-inspired horror film In The Earth, directed by Ben Wheatley (Down Terrace, Kill List). Written across 15 days last August, the movie follows a scientist and a park scout in the midst of a pandemic. Their journey into a forest becomes imperiled as they find their environment shifting before them.

In The Earth opened in 575 runs in 128 markets over a 21-day window. Despite its lackluster 40% audience rating on RT, Earth made a strong showing –especially considering these times – in the specialty box office, grossing $506K through the weekend.

Though only making five runs in three markets, Gunda tallied the highest per-screen average this week at about a grand per screen, a solid showing for a non-conventional documentary. The animal documentary received rave reviews (98% on RT) with director Paul Thomas Anderson calling it “what we should all aspire to as filmmakers and audiences.”

Atlas Distribution’s The Girl Who Believes In Miracles added 112 screens heading into the third week of its run. The Rich Correll-directed drama tops the specialty box office again this week adding $554K into its piggy bank. It should easily break $2M by next week.

Hollywood Insider In the Earth Review, COVID Horror Movie

All the Academy Award-nominated holdovers posted decent weekends before next week’s Oscar Sunday. The Father crossed the $1.5M cume mark and both Minari and Promising Young Woman grossed at least $100K. If the latter two films receive an Awards bump, it will be possible to see the Minari and Promising Young Woman cross the $3M and $7M threshold, respectively.

Ben Wheatley, the auteur behind the films ‘Free Fire’, ‘High-Rise’, and ‘A Field in England’, returns to his horror roots with ‘In the Earth’, descending back down into the dark depths of the occult, into a phantasmagoria of terror, previously explored in his film ‘Kill List. Unlike ‘Kill List’, however, released a decade ago now, the circumstances surrounding the production and release of this film are far more different, far scarier.

It would be impossible to write this review without mentioning the ongoing pandemic we’ve all experienced for over a year now, the effects of which shaped everything from how we interact with other people to how we consume media to how we shop for groceries, everything from the banal to the essential; coronavirus changed how we experience the world; and we changed because of it; our movies are no different. Now, whether or not the real thing lives up to the horror Wheatley crafts in this film is beside the point, the point being: Wheatley channels its energy into something totally psychedelic and truly unforgettable.

‘In the Earth’

Like the world right now, the film is set during a global pandemic, setting up the various dialectical thematic engagements of the movie. nature vs. society, art vs. science, image vs. sound, which I’ll talk about later in the review, but, for now, it’s evident from the opening scene of the movie that the world of the film could have been lifted out of real life: masks, hand-sanitizer, viral-testing, isolation, lockdown. Biologist Martin Lowery, played by Joel Fry, most notably from ‘Game of Thrones’, arrives at a research facility out of a locked-down society, as he prepares to journey into the surrounding forest to assist his ex-girlfriend and biologist Olivia Wendell, played by Haley Squires, most notably from the film ‘I, Daniel Blake’, on a mysterious experiment for less than clear reasons, even to him.

Accompanying Lowery on his journey into the forest, is Alma, a park ranger, played by relative newcomer Ellora Torchia, and so the two embark into what becomes a hallucinatory but very real nightmare by the end of the film; but for the first act of the movie, the two ponder the natural world, the violent, tangle of life, and discuss the isolated modern world that they’ve left behind. It’s not until they meet the haggard and unhinged Zach, played by English television’s Reece Shearsmith, that the descent into nightmare begins, and what a nightmare it is!

So This Is What Shrooms Are Like?

Anyone who has ever seen a Ben Wheatley film knows the director likes to compose strobing, almost pulsating psychedelic images. If I was to choose the two movies from his filmography that remind me the most of this film aesthetically and thematically, I would choose ‘Kill List’ for its exploration of the occult and ‘A Field in England’ for its distinct visual style, its violently pulsating images. There is a logic to these sequences in a Wheatley film though; they don’t merely exist in the movies just because they look cool.

In ‘A Field in England’, for example, the diegetic world doesn’t begin to breakdown in the film’s edit until after the characters consume a bunch of magic mushrooms, and in ‘In the Earth’, mushrooms are again responsible for the transfiguration of the diegesis, although their function in the film is far more obscure than in ‘A Field in England’; here mushrooms spores form a sort of physical and psychic barrier between the modern world and the natural one, physically preventing the characters from getting help, but also psychically transporting them past the limit of rationality, thrusting them into an occult reality.

In this way, the edit doesn’t so much as a breakdown as it does open up the world of the film, even though this might not be a world that the characters want to be transported to; it’s a world that exceeds everything and in doing so contains the horror of everything.


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His eyelids are clamped open, preventing him from looking away, his movement is almost completely restricted by a straitjacket, and his ears subjected to a steady stream of classical music played at deafening volume. If you can picture this assault on the senses, you’ll have some idea what playing People Can Fly’s Outriders feels like, but unlike Alex, who is repulsed by violence after being subjected to this ‘therapy’, you might actually find yourself reveling in it.

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A frenzied and fast-paced third-person shooter set on the alien world of Enoch, Outriders will see you play one of the eponymous Outriders, a gun-slinging militia that accompanies the last of the human race as they voyage across space, leaving behind the barren wastelands of Earth.

Upon arriving on Enoch after an 83-year journey and exiting cryogenic sleep, you are greeted with the lush, untouched wilderness that stretches as far as the eye can see. The beleaguered human race appears to be on the cusp of a new start, but a massive storm named ‘the Anomaly’ tears through a town, killing several people and granting magical powers to a select few. Fast forward a couple of decades, and the planet is in turmoil, thrust into a Mad Maxian dystopia, and only you can bring an end to the chaos, mostly just by putting bullets in the right people.

Vanquisher (Official Movie Site) - Starring Kick-Ass Martial Arts Star Sophita Sribanchean - Available on DVD and Blu-ray™ March 22 - Trailers, Pictures & More

Someone at People Can Fly heard the old adage about the offense being the best form of defense, and really took it to heart. Outriders is a game in which defense is rarely an option, and even when it is, it’s not an option for long. Instead, constant movement and frenetically paced gunfights are the priority, much like Destiny or Gears of War or any of the other classics of the genre that seem to have heavily influenced the making of this game. Hanging back behind cover is something the game actively tries to prevent its players from doing, with opponents frequently chucking all manner of explosives at you to force you into the open.

Girl on the Third Floor’s director Travis Stevens is back again to big screen with his new film Jakob’s Wife. Penned by Stevens, Kathy Charles, and Mark Steensland, Jakob’s Wife gives a creepy twist to an account of a lady discovering her solidarity and freedom.

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Barbara Crampton plays Anne Fedder, the devoted spouse to the town’s minister Jakob (Fessenden). Many years together implied that their marriage sometime in the past developed into a natural, day-by-day schedule assembled essentially around Jakob. At the point when Tom (Robert Rusler), a past love interest of Anne’s, shows up back around to restore the old gin factory property, Anne’s interest gets provoked. Before teases work out in a good way too far to consider turning back, Tom and Anne find Nosferatu-like containers in the factory’s storm cellar, bringing about a dreadful chomp on Anne’s neck. As Anne starts her change into a vampire, it starts another vitality in her that accompanies a body check that doesn’t look good for her marriage.

Travis’s film additionally makes set-up for one substantial job in Anne. She starts as submissive and docile, featured by the various scenes where she yields to her more emphatic spouse, in any event, when it’s reasonable she feels the inverse. Jakob’s Wife has extremely positive things like the supper scene or a grouping where Anne, sorting out her newly discovered force, conveys furniture with one hand while Concrete Blonde plays behind the scenes. Yet, with those highs come smashing lows that neglect to sink the film, especially in the content division that unquestionably feels like it was composed by three individuals with contending points.

The explanation is basic: the film is a lot of a satire first, frightfulness second. What’s more, the satire is silly and unconventional in manners that eventually sabotage the reflective informing at its middle as opposed to improve it. There are looks at the inverse—like Jakob discovering approaches to rapidly handle otherworldly events and position himself as the vanquisher of abhorrent his collar requests and how that worsens the force imbalance of his marriage—however not almost enough to quit making the entire feel incoherent

The throughline of a lady finding her self-rule and sexuality at a later point in life rapidly tumbles off the rails in the chaotic second demonstration. From the outset, it appears as though the story needs to handle a more reasonable and specifically complex idea of couples choosing to remain together and sorting out what life would resemble with a totally unique force dynamic. Fessenden sells this polarity by introducing a strict patriarch who’s attempting to grapple with his better half’s newly discovered control of her sexuality, however, the pieces don’t totally meet up in a good manner.

Zack Snyder’s Justice League

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Chris Terrio has spoken publicly for the first time since the release of the critically panned 2017 movie, which was originally under the helm of director Zack Snyder before being handed over to Joss Whedon due to a family tragedy.

In a lengthy interview with Vanity Fair, Terrio explained that he had “no idea” how much “wholesale dismantling” was going to happen when Whedon took the reins. He did not blame Whedon specifically but instead mentioned studio leaders and “people who are neither filmmakers nor film-friendly”.

When asked about his thoughts after watching the film for the first time, Terrio answered: “I was in LA at the time working on Star Wars [The Rise Of Skywalker]. I was on the west side of Los Angeles working with J.J. [Abrams] at the time, and I drove to the studio and I sat down and watched it a couple of weeks before release. I immediately called my lawyer and said, ‘I want to take my name off the film.’ [The lawyer] then called Warner Bros. and told them that I wanted to do that.”

He went on to explain that he ultimately refrained from doing so to protect the film from delays or scandal. “I shut up and I said nothing publicly. I’ve never said anything about Justice League since then, but the movie doesn’t represent my work,” he said.

After Zack Snyder’s Justice League Success, Fans Are Really Pumped For More From Ben Affleck’s Batman

Terrio continued: “When those personal touches were removed from the film in the 2017 version, I was silent because I couldn’t really say anything, but of course it hurt. All that remained was a dinosaur skeleton of what had been a great, lumbering beast.

Zack Snyder's Justice League Reportedly Sets 4K Blu-ray Release Shortly After HBO Max Debut

“I went into such depression when the film was taken away and rewritten. But I didn’t even feel entitled to be depressed, because Zack and Debbie [Snyder, his wife, and co-producer] were dealing with their family tragedy. Measured against that, losing the film that you wrote seems like nothing at all. But it did hurt. It hurts to think that I cared so much about these characters and worked on nothing else for a very long time.”

He added that he would only hear “occasional reports” about the Justice League reshoots by Whedon. “I didn’t realize how much of the film was going to be changed—or vandalized, in my opinion. It became clear as I spoke to various actors that it was a wholesale dismantling of what had been there before. I did not hear from anyone who said it was a pleasant experience.”

Film Freak Central - Zack Snyder's Justice League (2021)

Terrio concluded that the experience has hurt his reputation. “But more importantly, it poisons your soul and your confidence, especially when this other version of the film wasn’t seen.”

New claims shared to The Hollywood Reporter as part of a broader interview with Justice League star Ray Fisher allege that Whedon was “dismissive” of some actors on set including Fisher, Gadot and Jason Momoa when they questioned lines in the film.

According to sources speaking to THR, the “biggest clash” was “when Whedon pushed Gadot to record lines she didn’t like, threatened to harm Gadot’s career and disparaged Wonder Woman director Patty Jenkins”.

Meanwhile, Zack Snyder’s Justice League, a four-hour re-versioning of the 2017 film, is out now on HBO Max.

The DC Extended Universe is a unique place, which is constantly keeping the moviegoing public on their collective toes. The streaming release of Zack Snyder’s Justice League essentially broke the internet, as the titular director’s original vision was finally revealed to the general public. But since the movie was part of a five-film story, fans are holding out hope that Warner Bros. will move forward with previously canceled projects like Ben Affleck’s Batman movie. And those fans are making their excitement about Batfleck known on social media.

Justice League Snyder Cut to release on HBO Max in 2021 | Entertainment News,The Indian Express

The critical and box office failure of Justice League‘s 2017 theatrical cut sent shockwaves through the DCEU and inspired Warner Bros. to seriously shake up its plans. Two sequels were canceled, as well as various solo flicks. Ben Affleck was originally going to direct and star in a Batman project, before dropping out from the role altogether. And now that the Snyder Cut showed off more of Affleck’s take on the Dark Knight, fans are calling for the studio to #MakeTheBatfleckMovie. Check it out below.

Voyagers Full Movie

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The characters in Voyagers are the middle children of an 86-year colonization mission — born on Earth but never really of it, and also unlikely to survive long enough to see the new planet they’re traveling toward. Their lives are slated to unfold almost entirely onboard the spaceship Humanitas, on which they’re both the crew and the future parents and grandparents of the eventual settlers.

In an effort to make this regimented existence more tolerable, the planners behind the mission gestated their intergalactic travelers in a lab and raised them in a sealed facility so they wouldn’t get attached to family or to the dying Earth they’d soon leave behind.

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The crew is also drugged with a substance they call “blue” that dulls their senses, makes them more biddable, and dampens their sex drives, which becomes relevant as the kids grow up into a bunch of dewy-skinned teenagers living in close quarters with no clue that their state of chaste docility is chemically enforced. Then two of their number, Christopher (Tye Sheridan) and Zac (Fionn Whitehead), figure it out and stop taking their daily doses, setting off a chain of events that throws the careful order of life onboard into chaos.

  • Production companies: Thunder Road Films, Nota Bene Films.
  • Distribution: Lionsgate.
  • Cast: Tye Sheridan, Lily-Rose Depp, Fionn Whitehead, Colin Farrell, Chanté.
  • Adams, Viveik Kalra, Archie Madekwe, Quintessa Swindell, Isaac Hempstead.
  • Wright, Madison Hu, Archie Renaux, Wern Lee, Veronica Falcón, Laura.
  • Dreyfuss, April Grace.
  • Director-screenwriter: Neil Burger.
  • Producers: Basil Iwanyk, Brendon Boyea, Neil Burger.
  • Executive producers: Stuart Ford, Greg Shapiro, Miguel Palos, Jr., Jonathan.
  • Fuhrman, Andrea Scarso, Jamie Jessop, Greg Clark, Victoria Hall, G. Mac
  • Brown.


  1. Director of photography: Enrique Chediak.
  2. Production designer: Scott Chambliss.
  3. Costume designer: Bojana Nikitović.
  4. Music: Trevor Gureckis.
  5. Editor: Naomi Geraghty.
  6. Visual effects supervisor: Viktor Mueller.
  7. Casting: Mary Vernieu, Michelle Wade Byrd.
  8. Rated PG-13, 108 minutes

Tye Sheridan and Lily-Rose Depp in Voyagers

On one hand, the premise of Voyagers is a heady one, asking what gives a life meaning when its course is already set, and that same life has been surrendered in service of a future that won’t be experienced. On the other, it offers all sorts of potential for soapy sci-fi shenanigans when the 30 crew members, a diverse group united in looking like they could at any moment star in a Gap ad, go cold turkey, and are all plunged into hyperadolescence at the same time.

But the film, which was written and directed by Neil Burger (of The Illusionist, Limitless, and more recently, The Upside), walks a fine line between the philosophical and the frothy, managing with impressive precision to avoid being smart or fun. There is, at least, a short, giddy window in which Christopher and Zac find themselves awakening to emotional and physical sensation, racing down the hallways, zapping their fingers with electricity, and noticing the same nubile colleague, Sela (Lily-Rose Depp).

Lily-Rose Depp and Tye Sheridan in Voyagers.

But Zac acts on his newfound attraction by groping Sela against her will and then challenges Richard Alling (Colin Farrell), the ship’s lone adult, about why he can’t just do whatever he pleases. “We’re just going to die in the end, so why can’t we do what we want? What’s the difference whether we’re good or not?”

There’s a sinking feeling accompanying the realization that, as Christopher and Zac start vying for leadership, Voyagers is becoming Lord of the Flies in space. It’s not just that divisions form in predictable and dramatically inert ways, the performances universally flat and unengaging as one side rebels against the group’s elected leader, giving into paranoia and opting for violence.

It’s also that, as the film goes on, there’s a niggling sense that this futuristic retread of a familiar story is meant to say something about our moment — about, say, tribalism and strongman leadership. After a mysterious accident leads to the death of a crew member, Zac goes from “guy who just never thought about consent before” to full-on villain, leveraging fears that there’s an alien in the group’s midst to position himself as a protector and to label anyone who speaks up against him a possible carrier.

Life on a Spaceship Descends Into Chaos in Trailer for the Sci-Fi Thriller VOYAGERS — GeekTyrant

His turn toward the manipulative and brutal is written as taking place so abruptly that it’s impossible to grasp him as a character or to understand how he’s able to take control so quickly. Rather than show the potential for both brutality and order in the human psyche, even in characters who’ve essentially started as blank slates, Voyagers ends up presenting Zac as an aberration leading the crew into a bout of hysterical overreaction. As allegories for the last few years go, it’s not one that offers much by way of compelling insight.

There have been a few noteworthy movies grappling with the idea of long-term space travel out in the past few years. Christopher Nolan’s Interstellar pitted a father’s conflicted desires against the nightmarish stresses of time dilation, his children getting older and older every minute he’s away from Earth, decades slipping away. There was the dismal Passengers, the movie Voyagers most seems to want to echo, a movie about how the vastness of possible years in isolation makes the most inconceivable crimes forgivable.

There was Claire Denis’s High Life, equal parts sexy and repulsive, with its coerced crew of criminals hurtling resentfully toward a black hole. But the best recent film to pit the human lifetime against the impossible hugeness of space is the Swedish Aniara from 2018, which is about a luxury liner that’s sent permanently off course on a routine trip taking passengers from Earth to Mars — a kind of serious take on a scenario shared by Armando Iannucci’s Avenue 5. As the years roll on in the film, the passengers embrace bursts of hedonism and develop new forms of spirituality and contend with all-consuming depression.

It’s a film that might come to mind when watching Voyagers, not just because it actually digs into the possibilities of its premise, but because it really engages with the idea of a life lived in transit without a destination, and with the idea of how different that really is from the lives we’re living now. Voyagers, in keeping its focus where it does, feels like a waste not just because of how predictable its beats are, but because it ends just when it feels like it’s getting interesting.

‘Voyagers’: Film Review

Writer-director Neil Burger’s visually alluring but dramatically underpowered sci-fi thriller about an interplanetary mission blitzed by a hormonal explosion, Voyagers, is basically Lord of the Flies in space. Or Passengers without hypersleep pods. Either way, it’s not terribly original. A solid cast and stylish design work in a spacecraft whose endless corridors become sprint lanes for cinematographer Enrique Chediak’s invigorating camerawork make the Lionsgate release an easy watch and a big improvement over the studio’s recent sci-fi snooze, Chaos Walking. But the conflicts feel just a tad too routine and the characters are too thinly drawn to get the blood flowing.

This is ironic given that the driving plot point is a bunch of young people liberated from a drug that dulls their senses, suddenly uncorking all their messy rage, lust, jealousy, fear, and euphoria in a hermetic environment that puts human nature under an unforgiving microscope.

As Earth’s temperatures have risen, causing drought and disease, scientists have sought a new planet that can sustain human life and ensure the survival of the species. They find one with abundant water and oxygen in 2063. Richard (Colin Farrell) is responsible for training the children who will be First Generation passengers on a scouting mission during which they will reproduce on the ship, with their grandchildren ultimately becoming the first colonists at the end of an 86-year voyage.

Godzilla vs Kong

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Coming off the best opening and sophomore frames of any film released domestically during the pandemic so far, Warner Bros. and Legendary’s Godzilla vs. Kong is poised to easily repeat atop the box office for the third time.

Godzilla vs. Kong | Official Site

The film slid nearly 57 percent last weekend as it came off the Easter frame and some fan-driven front-loading, landing on the lower end of expectations in its sophomore performance. Even without reported dailies from the studio this week, there’s no reason the film shouldn’t be headed toward a pandemic-best third weekend that would top Tenet‘s $4.7 million last September.

Likely outcomes based on current models for the monster showdown’s third frame stand between the $7.5 million and $10 million marks.

Elsewhere, holdover retention should remain intact for the majority of key releases. The average weekend-to-weekend drop during the April 9 – 11 period was under 10 percent across the remainder of the top 10 films. With a few more Regal locations opening up this weekend and no significant competition entering the market, there’s little reason to expect sharp declines. Theater counts are also remaining mostly steady.

One factor to consider in the race for second place, however, may be Nobody‘s release on PVOD this Friday. Whether or not that softens its box office appeal just enough to fall behind Disney’s Raya and the Last Dragon and/or Sony’s The Unholy will remain to be seen, but it has thus far developed very encouraging legs.

Godzilla vs. Kong raked in £206m worldwide in its opening days

As new releases go, the stand-out in a limited footprint will be NEON In the Earth. Unfortunately, the studio hasn’t confirmed exact location counts, although The Boxoffice Company’s Showtimes Dashboard registers no less than 527 for the weekend — indicating a probable total near or over 550. That could potentially be enough to generate an opening weekend near or among the top ten.

Looking ahead, next Friday brings the launch of Warner Bros.’ latest day-and-date experiment with a well-known brand in the form of Mortal Kombat, while Sony’s FUNimation will preside over the domestic debut of Demon Slayer: The Movie – Mugen Train — Japan’s biggest box office hit of all time.

This Weekend vs. Last Weekend

Due to the lack of significant new content hitting screens, Boxoffice projects this weekend’s top ten films will decline between 25 and 30 percent from last weekend’s $25.2 million top ten haul, the second-best tally of the pandemic era following the previous Easter weekend

Why Godzilla vs. Kong saved cinema, not Tenet

In any other year, Godzilla vs. Kong could be filed as just another bloated, unoriginal franchise flick. But this hasn’t been any other year. It’s a year that has seen trips to the movies stolen away by a global pandemic, as all blockbuster releases have either been postponed or shifted to a streaming-only release. This being the case, Godzilla vs. Kong has been welcomed as a thunderous return for the big-screen experience. And the numbers show it. The fourth film in Legendary’s MonsterVerse raked in more than £206m ($285m) at the worldwide box office during its opening days, the highest debut of any American film in the pandemic era. There is a strong chance that it could outperform MonsterVerse’s Godzilla: King of the Monsters, which was a financial disappointment in the pre-pandemic era in 2019, grossing $383m worldwide during one of Hollywood’s most lucrative years.

The joy with which Godzilla has been hailed contrasts with the muted response to the highest-performing Hollywood film during the pandemic: Christopher Nolan’s Tenet. After a seemingly endless number of delays to its release, Tenet was hyped by both the industry and the press as the film that would “save cinema”. For good reason: it was a new big-screen outing for a director who pushes the technological limits of film-making, bedazzling audiences with advancements in visuals, sound, and cinematography. Everything Nolan touches turns to gold, it seems.

Godzilla vs. Kong: New Images Highlight Massive Battle and Stars

Except, not this time. When Tenet was released in August last year, it failed to set cinemas alight. Perhaps it was because audiences continued to doubt whether returning to the big screen was worth risking exposure to the virus. Or possibly because Tenet is a two-and-a-half-hour flex with a bewildering storyline draped in technical razzle-dazzle. Most likely, it was a mixture of both. Its global total didn’t even reach that of Nolan’s previous film, the “difficult” second world war picture Dunkirk. So much for saving cinema.

Godzilla vs. Kong has instead romped ahead not as the hero we deserve, but the hero we need. It has chalked up $200m worldwide in half the time that it took Tenet, enjoying a wider release in places where the virus is under control such as China and New Zealand. Godzilla vs. Kong has also been helped by a slightly wider release in the US compared with Tenet, which opened to tighter restrictions in most states and wasn’t able to open at all in California or New York. The hype surrounding Godzilla vs. Kong is different too. With ever-changing release dates, and Nolan’s quixotic insistence on releasing the film in cinemas whatever the cost, the buildup to Tenet was characterized by stubbornness and frustration. By contrast, when the trailer for Godzilla vs. Kong dropped in January and drew in tens of millions of views, it became rapidly apparent that a giant ape fighting a colossal lizard is exactly what the doctor ordered. Does it bravely push artistic and technical boundaries? No. Does it matter? Not really.

Unlike Tenet, the belief that a great ape and a dinosaur going at it for 15 rounds might save cinema only started to gain traction after the film’s release. Rather than forcing something complicated and messy on exhausted cinephiles and punters, Godzilla vs. Kong is a simplistic slice of escapist heaven. A film that might otherwise have been forgotten has romped effortlessly to the rescue where Tenet tried too hard to be the hero.

Godzilla vs. Kong speaks volumes about what it will take to keep the movies alive. Something that makes you forget about the outside world, rather than have you longing to go back to it. Cinema is in too perilous a place right now to be stuck up on a high horse. If it takes brainless kaiju carnage to reignite the love for the big screen, then we are not really in a position to complain.

Bloodthirsty Full Movie

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Welcome back! It’s our fifth consecutive ongoing “best of horror” annual here at Thrillist—check out our 201720182019, and 2020 entries here—and we’re excited you’re another run. Horror cinema is tracking to have a banner year in 2021, partly because so many promising genre films got pushed back for pandemic reasons, and also because let’s face it: When we’re living in scary times, filmmakers make scary films. And sometimes they’re really good films. So let’s dig in already.

BLOODTHIRSTY (2021) Official Trailer - YouTube

(As always, please remember that the “rankings” are mainly for fun. The top films may have something extra special about them and are truly must-sees if you have limited time, but I firmly recommend every movie on this list. Thanks.)

5. Prisoners of the Ghostland

Release date: TBD
Cast: Nicolas Cage, Sofia Boutella, Nick Cassavetes
Writers: Aaron Hendry & Reza Sixo Safai
Director: Sion Sono (Cold Fish)
Why it’s good: Nicolas Cage leads an eclectic international ensemble in an equally bizarre casserole of sci-fi, western, horror, and dark comedy. Here, Cage is tasked with venturing into a violent netherworld in an effort to rescue an insane kingpin’s granddaughter. This movie, which screened at the 2021 Sundance Film Festival, might be 10% too “gonzo” for most mainstream viewers, but those who appreciate Cage’s current brand of genre insanity will find much to like here.
Where to watch it: TBD

Bloodthirsty': Clip From Amelia Moses Horror Film - Variety

Lowell Returns with New EP for ‘Bloodthirsty’ Horror Flick

Lowell is back with a new release, but it marks a bit of a change for the Toronto artist. She this time is giving us songs made for a new horror flick.

Today Lowell announced she’s releasing her music for the upcoming film Bloodthirsty. Her release will be a four-track EP, due out via Art & Crafts on April 23 — the same day as the film.

Right now, you can hear Lowell’s “Bloodthirsty” from the EP below.

According to a press release, the film Bloodthirsty “follows a young indie singer who finds herself turning into a werewolf under the pressure of recording her anticipated second album. In addition to being written by the mother-daughter duo of producer Wendy Hill-Tout and singer-songwriter Lowell, the all-women creative team includes director Amelia Moses, lead actor Lauren Beatty and composer Michelle Osis.”

Bloodthirsty' Lands at Brainstorm Media, Sets Release Date - Variety

4. The Queen of Black Magic

Release date: January 29
Cast: Ario Bayu, Hannah Al Rashid, Adhisty Zara
Writer: Joko Anwar (Impetigore)
Director: Kimo Stamboel (Macabre)
Why it’s good: A group of old friends gather at the creepy old orphanage in which they were raised, and all hell pretty much breaks loose from the jump. It’s a remake of a 1981 film, and one of the coolest, craziest Indonesian horror films of the past several years. If you enjoy this one, you should also check out Satan’s Slaves, May the Devil Take You, and May the Devil Take You Too.
Where to watch it: Shudder

A new werewolf movie is on the way with Brainstorm Media’s upcoming female-driven and directed Bloodthirsty, and the official trailer has just been unleashed this afternoon.

Directed by Amelia Moses (Bleed With Me), conceived and written by mother-daughter duo Wendy Hill-Tout and singer-songwriter Lowell, and featuring the original music of Lowell, Bloodthirsty stars Lauren Beatty (Bleed With Me) and Greg Bryk (The Handmaid’s Tale) with Katharine King So in her feature film debut and veteran actor Michael Ironside.

Bloodthirsty Movie Still - #584506

“Grey, an indie singer, whose first album was a smash hit, gets an invitation to work with notorious music producer Vaughn Daniels at his remote studio in the woods. Together with her girlfriend/lover Charlie, they arrive at his mansion, and the work begins. But Grey is having visions that she is a wolf, and as her work with the emotionally demanding Vaughn deepens, the vegan singer begins to hunger for meat and the hunt. As Grey starts to transform into a werewolf, she begins to find out who she really is, and begins to discover the family she never knew. What will it take to become a great artist and at what cost to her humanity?”

Demon Slayer the Movie Mugen Train

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The 2020 Demon Slayer movie made headlines and history when it premiered in Japan in late October. The first feature-length film based on the popular Shonen Jump manga and anime series amassed more than $350 million at Japan’s box office during its opening weekend, surpassing not only the record set by Hayao Miyazaki’s Spirited Away as the highest grossing Japanese film of all time, but the fourth-highest grossing film of 2020, period. This happening as the future of the film industry remains in flux in the wake of the COVID-19 pandemic speaks to the evident fact of anime’s economic and cultural dominance as global entertainment.

Demon Slayer the Movie: Mugen Train' Review: Anime Record-Setter - Variety

Now, more than half a year since the film’s release, Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train finally makes landfall in the States. Given the massive concentration of fanfare and newfound mainstream attention toward the series in the wake of its premiere, the question remains: Is this film worthy of the hype? For the most part, it emphatically is.

Directed by Haruo Sotozaki, who oversaw Demon Slayer: Kimetsu no Yaiba’s first season and is set to return for season 2 next year, Mugen Train picks up immediately after the events of the end of the first season. Series protagonist Tanjiro Kamado, his demon-slayer cohorts Zenitsu and Inosuke, and his demon-possessed but pacified sister Nezuko race to assist the upper-rank demon-slayer Kyojuro Rengoku, also known as the Flame Hashira, in investigating the disappearance of 40 people aboard the mysterious Mugen Train. (Mugen is Japanese for “Infinite,” but this has nothing to do with Infinity Train.)

Demon Slayer: Kimetsu no Yaiba THE MOVIE Mugen Train anime film will release on October 16 - Finance Rewind

More than simply a continuation of the series’ broad plot, the film is based directly on an arc of Koyoharu Gotouge’s original manga, and is intended as a canonical bridge between the events of season 1 and 2. This itself is novel: Most popular anime franchises (e.g. My Hero Academia, Naruto, Dragon Ball, etc.) boast one or more feature-length movies, which tend to be fun, non-canonical side stories, unconcerned with the arc of the series’ main characters and more focused on “what-if” scenarios. Usually, anime franchise films allow for more loose experimentation in terms of animation and characterization.

New Trailer For Japan's All-Time Box Office King, 'Demon Slayer,' Set For April Theatrical Release In North America

For the most part, Mugen Train benefits from its role as a canonical footnote in the series’ larger arc, with one exception. Curious newcomers to the series will be left adrift, given the absence of exposition around the characters or who they’re fighting and why. There’s no straight answer about exactly what a “Flame Hashira” is, or a clear explanation of Enmu, Mugen Train’s antagonist. The movie doesn’t explore what that freaky “Lower Rank 1” kanji tattoo on their eye means, other than the obvious implication that (1) they’re a demon, and (2) they’re out to slay demon slayers

Demon Slayer the Movie: Mugen Train Review – Anime Hit is a Smooth Ride

It’s become a common tradition for the most popular anime series to get theatrical adaptations. It’s not surprising then that Demon Slayer: Kimetsu no Yaiba is the latest to make this leap considering the tremendous success of the anime and manga. These cinematic endeavors can sometimes be a mixed bag due to a tendency to function as recap compilations or entertaining sagas that ultimately become unnecessary filler in the context of the anime.


Demon Slayer’s movie, Mugen Train, chooses the best route possible here with a narrative that’s a direct sequel to the events of season one and an important action-filled bridge to the events ahead in season two. This approach has paid off in a very big way since Demon Slayer the Movie: Mugen Train has gone on to become the most successful animated movie to ever be released in Japan, surpassing Hayao Miyazaki’s Spirited Away. This creates extremely high expectations and while Mugen Train is unlikely to get nominated for an Academy Award, it’s still an entertaining movie that marks a high point for the medium.

‘Demon Slayer the Movie: Mugen Train’ Review: Anime Record-Setter Serves Up Toon Action for Cult Audiences

EVERYTHING About The Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train

You’re either already on the “Demon Slayer” train or you’re not, and the hit Japanese feature — arriving stateside having surpassed “Spirited Away” as the highest-grossing anime movie of all time — is hardly the vehicle for the popular franchise to pick up new passengers. That doesn’t mean the action-packed toon won’t appeal to those curious to check out the sensation that has earned more than $415 million internationally. But it will be hard for newbies to follow a fan-service sequel that relies heavily on the complex mythology established by the 26-episode show.

Produced by the same team at Ufotable, “Demon Slayer the Movie: Mugen Train” looks even more rudimentary than its small-screen counterpart, “Demon Slayer: Kimetsu no Yaiba,” which has amassed a cult following among Funimation, Crunchyroll and Netflix subscribers in the U.S. The slight downgrade in quality may come as a surprise to those expecting slicker visuals from the theatrical blockbuster. At times, the imagery hardly qualifies as animation, coming across as a sequence of still drawings: fixed expressions and poses that suggest emotion or energy, even when nothing is actually moving in the frame — though this is hardly unusual in the manga-inspired medium, which relies on such tricks to tell elaborate stories on modest budgets.